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rj 1 1'1 1 1 3.. etc. &. only use your ri~ht tnurnb \0 preS:! in the key. It . @@ t 4 &. forming a: tighl 'cup...ers. I& 2. t 1&. BLOWING AND DRAWING EXERCISES t Exercise' 1: B1QWand draw in ro the-first three hcles (or around there) 'and go up one 'h. t· t t . 2. Chromatic people: hold like above'."' into Itgle.O HOLD THE HARMONICA 1.123 Tap Count 234 i tl t. Try this. and drawing.j. 123 3.do. 5 6 7 B 9 10 .B bollom'of your palrns. (When not pla:y"~g vibrato. 2 and J ~ Drawfmotholesl."ourit inyour he'd. lJ4 345. justclose. T'ap with y~. Try moving yOlJr whole' hand. YoU! should get a ditfer~nt . 4 &. opening an'd closing the cup. 'exercise k~epin_g.2. Cup .right hand over.I & .1Conlinue . 2 3 4.. 1 1 10 I 1 r ~LO\rVJ b QRA. vibrato e(iects. &. This 'enables you to produce blue. the highest 'lti~tnotes. the cup"pivoUng at '1h. j I HARP CODE 4 ~ Blow into hQk4. Blow lnto tne two or three IQwe~t n<.~ the key.J @@ t t ~Continue 3. ExpeJlment with vibrato and the sounqs you gst01owtniJ.) (]LO[J C~RAr.WJ CONTII'{UE I" t VIBRATO 1.~·t"')t'o.sy.2 . :I s. & 4 J r 3 &. i @@ .) on left.2 t .3. I.6 1 I TRY KEEPING AN EVEN BEAT! 7 .&& I &. " .·<tti even bear.(holes 1.Couru - @j'@ s: t ~t 134 t 234 ". I . 2.HOW I. E~ercise].clleat ~ lime 10. Exercise 3': Play .esn'thave to be perfect. Low notes. Dcaw from hO'I~4 123 ~ 31". Play-121 Tap . 2.il!:l" and quickly open and ctos!.and 3 :GF Z. Hold in Lell hand petwean thumb arid Ii rlg.. usethe palmot your right hand to wo.sound .

press. many who pick 'up On the 0 tes. lips as i1' to wlii. "2 . a .PLAYfNG_SIN~lE BLOW NOTES to order to play melod les. C)?1lf tone. probably ihe hardest in-mastering the harp.Pro1:>l<:Om':' * more firmly T. Glow into holes 4.A common problem with this.Tonguing PiCK one that'.s to do 11.them "lpinst the harp .. harp pj~y thls way. Try to 'get a sidgk dear 1011e.unplayed look. 1M! or ~ight. tile pucker over the hole.play . There are two w. PROBLEMS') Gdt'irig [he wrong note? Try placing.tl" and blow TONGUING This-is the best way to play ifyou'll chromatic harp.note? 'Belling two notes" You're not covering both holes. Try gelling a single. Try rnovmg I'h~ ha. be. 've 110I 10 PW>' single and most important Blues and Rock 11 lead PUCKERING Whatever the 'lame. 5 and 6.the lip of your tongue in the hole (hole 5) next I~ the cne yo" wont lo.ghten your 'lips and.against the other . . making sure Ui'at you're still 'bjo\liing into hole 4. PROBLEMS'? Can't get one. I.. Tighten your intohcleel. melhod. step If. and Puckering. 3. Press the side :or yous longue.is getting. I. making a <chord.iy..rp 'sLightly to the right 'Of left in order to better center your mouth over the-hole. I.playing a '2. best for you. y QU Of and a ccompanirn en I. Try moving the harmonica 'very 'lightly to th..

' . NOTES '0 RESTS {means don't play) . 1us. t & 4BEA'tS 4 d. note __ . YDU want for each piece.j '~ «: >- hml' fll~!or slow . half ncte.til!chth note .1£' u' " "" -00l ~.i3. ". I "" . . t j.mlpo of the.you want ih't.note.K"T- .NOTES AND RESTS MUS1C EXERCISES Before you can practice.any rhythmsvyou've got to pick up 'on a bit of musical notation. ~ "dolled t ~j haltnote 3 . remember that 'a bea~ can beas long Or short ".>. c)'<>pen'du.& ~ JBEATS & .. 'i ) = a xi xteerrrh._ ~ ~ a sixteenth Asixteenth 1/4 BE. ICS simple and really helpful. «: oJ "- . whole rest TAP CPt_. ---~ a a whole "01e .:.2& J l =.I: &3 t &2 s: j..long to be_ :i "" '" ~ " " "" ~ :.:t.!\'-upon r I I ~ .ATor n~ ) rg':st Simple. r &2& 2 BEATS t & 1 REAT j) 1 = on.

TTy to _gel a ciear. ~ -----. -Try drawmg air into .~ .00 __ " :~.. it cool. you draw. Ups... sometimes not..:d' -+. TTy pushing it hard against the harmonica when drawing... A 2.. SINGLE DRAW NOTES TONGUING Oil the same thing. Uj. . lips. '"~*'I. Try ohimgiAg tile . "J'ROBLEMS_" PUCKERING Do.t _...._ ~ 0. . -+ ----.-::t +-dj : +- ..®@ . your cheeks and lips collapse. Mos't mortals rind drawing harder than blowing atflrst.~ .ur lips. EJ@) ~ ~ : I.See page 8. Stick with it. 3.@e:~ +-'" """""..t .'0 no air get._. . major problem is that your tongue tends to pull 'into your mouth when.~ '.@@__.Qi' tfie harp is In y. .AfW1 Sometlmes.®S:. you Keep DON'T DRAW TOO H.arp between your.a ngle..@® PROillJlM S" DOII't worry.df hy to play too-loud the reeds won't sound.S :----.~ ~ .j .' .. Tty "(lju~ling how 'm""b 'of the b.:':' 0 8 " :.g '.~~-+.+"'1 4~ :...~ 'q ..Sometlines keeping them Jcose works.th an Olh~TI... posltion work' belle. ~. single tone. ... You might nl1dp. 4..€)e : -----. MQRE MUSIC EXERQlSE.." I..PLAYING..r. ~I g : --.t§e PROBLEMS? No-sound? Sometimes when yo" 'haw. . T"Yedr-awilll> air into your mouth .~~ ----.blow rhrough hole 4." ~1'-~ --. EJE)-+-: +--~ : 12 . 'you'll gel it. # you would to blow through hole 4.your mouth. Soon you'll be able 10 ilq it every lime.. ...@@ -----. ~ s~ ...I -+_ --. Tryto geta dear.. Adjust-how tight yOU keep you. :-----.ee~ ----. Til" m(l't--imp(lft~IH fhing ii eKperiment il~ILI you gel that clean tome.'= d I? 0: 5 .<-"'" r. the same thing as you would to... through. 'i1'lgl~tone.~·----..

.: ... " § .. also -always z z At firSt it's important you . .. @@ .. ..~ <: ~ ~ & g ~ -q .. " ~ ~..... c- .... S] U ~ '" E 15 . J i ~e @€) S ~ (§) C"" :... SIMPLE TUNES ('....s '0 '"..~ ". .. • tr @ ~ . :...". .. e-: . ..... C!I .. . (Not e .. ~--i ... I . <ID . .... ~ "" . . o <.. . -... though you..) is :::I (fl o I- o s w (fJ ffi b z z i .... . 1:........ -c~i:.' . @l@ U '-'" 0® . "".. .. .. <. until you am pia)' them dearly ... @8 @@ @(§) " [j u a @ ..l.j< ~ '" ~ 0 @ GI '3 ..... . ... . "'- . ] e e= s: «>. """ I ..... o .. ..... :(0 ~ '" " ~ " U '" .. should lr-y L6 keepan eve " beat.... ~ ..... "" . :=r@§ ..SOME.. <............ rr- @ ...."a o £ ..:.: ..i:l >. '" "" ... ~ :~®8 ...~ "" 0..::....Start playing these songs slowly at first..~ . :"d! '" e . @is .get the' n otcs righr.' 8 ~ .. u..: .O e i '" f" 6 . 'Ql '25 ~s " " ~ 14 B z " '0 ~.. F.. -e ". .. u.... '€1.. . .. <.. ........0: ... @ .."' ® '" 5 "'" ~ ....~ (5 ~ .c ... >o.® ......... ..._ -c.......... ®e ee " ... " o -< '" >. :=r I ~ . t..~ ..~ . cU <0 ......

. ~ II [! _5 o I ~ I 0 f..I j: « if- r16 0 17 .$ 5 o c-.

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. measure ffom another. __ LINE _._."".S. of nullion years this way.._. idea for you to pick up on it. means ~a!id noie.::.• _~_.. e G GCJEif TlTe.=-. ' Tt>.. A . and wiU probably continue be for at least the.. F'ClelNotes 9: r r r r r r r' J c e A G E 0 C J .. G. ~hd LINE _.alhid.. "."ce=----=-NE •• _~ _ _::_:4_::lhc::S. .. Play F.:.and G sharp. FCISI • F G. w. ~JJj.-:PA-:::C=-=-E-.:. fONE MEASURE=j ONE MEASURE41 ~1st During tneevotutron 01 musical notation. ls_t--'S_P_A:_. placed ilexl to each cia. F and Cl ·clefs. But don't worry. - beats. TIME SIGNATURE CLEFS Music has three cists..:-G:::" E:=-'_:::.-:A.nly apply within the measure.LlNE . in each measQre..--. _ BAA LINE BAR LINE do uble bar Ii fie means the end.1i:etti ng' 0 ne bsal • KEY SIGNATUF!E.:. the stili! had' from 2 to 20 II 1'1 es. ind icates W hat notes.E..BAR LINE dlvldes one.3.P.j! . _ 3rd.the C.this book. Most music ior Ihe< plano.taf' and naemontca uses 'th e G and JF' <)1 fs. STAFFS... 4'. what's it to yOll'!)_it migh c be " good. T.• --.i me S ignatu res: AI 4..!.HOW TO READ MUSIC Since songs have been written out a 'couple.... _~ __ 2"_d_S_P_A_C_E=__. ---~~5th _____ __ _' __ ~_ 4th LINE LI .of the note on that line. S '_ 2 3 4 6 ~. vis u:r£\~. . .J 8 A Naturals-oancel a previous" within a measure..C:_. next len (after that. or ~ 2t .-Clef Notes. snarps or flats next 10 individual notes o. gUi.~nd_ioatethe number of beats in 'each measure. The'sa symbol"~ ware o:.:_rd. s nou Id be played sharp or Ila\ in the 'preee. MEASURES to Music is divided intci equal parts called MEASURt:S.. and sym b'ol S' were inve nted to locate certstn lines and the pitch .any.J)Jrrf G A' 'B CD FI E -_ The key signature. .'il always give yon tho holes for tile songs in .:..

i I:Q ®l e ® I @ ~ :::> « $§ C!I :i "' '0 '. 0 ~ 'l'" 0 . l~ - e '" o < 1 @ "J .. j .. j t- .. ®~ -' <C- 0 c.i . .. ) o Z U ~ Ci i= -c ::.: 0 '0 s: E c-.... -r..: W ~ ~ c II >0:: Q)' ..~ . @ e I I ® ® @ "'~ ~ l- 1.: 0 I II: r!>l el .PRACTICE TUNES @ U ) ® '" ) @ -e- j . ~ b I w .. Gl @ '" z !.I .. °i L"- ..I 0 '" 0 (!I '3 -... I l- o « 0 Z c. I e -< Q e "'I "I ® c e « a: w 0 :! 0 U 'J..c:..: Ie I' .." "I I '" '" "0 s: £ ~ 1ii II -e 0 '0 J::_ '" OJ ..: :s: ILl 0 -' . 0 II OJ @' II -e e • 23 22 .: ... . j cI:Q . '" a.. f ® ILl e < ILl I e l:- i= o c .... "0 w.

PRACTICE TUNES 24 25 .

0 ~ @l 0 ~ I @ . €l @ Q S '" @l " r" ~ ®I o z " ® -<:. A C! (ii' '" z a: UI :!) ... ® @ 0 @ @) 9 Iioo.1 ··1 26 2·7 . @ Q e @ « 0 ::. @ e ~ -c c<...PRACTICE TUNES ® @l "" 8 «: I . 0 s « ':. (!l -at @ 9 0 e ~ LL :c: U 0 e w Vl :::> 19 . I ® I· «: E S e @ @ ®l @ Q e ® €I _<> i'Q e @I 0 Ij 0 I- @ ® z 0 15 ...~ G @ 0 '" J: . 9 Q e 0 a: 0 ::> foil 6 8 @ a '" <C C/) a: 0 J: « ~ o ::I oJ 0 .. . ~ tl -" Ol ... J: tu.::.. e ej e @ .:l e e e .

. z '" 0..0 1!' a @J ~ ~ " m b '0 oj> @J @ @ u .: 15 o a: @.. '" ) e -' '". . @ @ "'" e e .' 26 29 .. ® .. 0 e @) p ® @ 0 ) ·9 « ® 'II e E r <{ @ e- 0 0 s e ::i1 \§' €Jl @lj Z !2 .® :: ~ '0 II 0 e '. d . ~'..PRACTICE TUNES <II ~ ® ® U .. 9 e I .l!! z @ 0 J: f- IZ :::> >- ~ . ~ ~ 0 ~I @ @ @ :f.. 'C Q) <: 0> :I:: II) '" o '" « " ':.g c <C % l: ... sn ® -~ ..Ia @)·I ® r!l @ :I: 0 e . €l ..

~ ® c.. o ®) I>.!J ® <Ii @ O. e S u ®I ® @) @) @) a: W Z Z :. ..: o :E « a ir a: 0 !II (.....2 III ~ r- b @l (!) @) 0 @lj @) S ® <9 Q( .." 13 <: '" @J @J ® i= <{ :. 0 "( t'- @ := ® ~ ® >! @j @ r." @ a: J: (J . a: w l- z w w !:! ~ 30 31" ... '" '" (fj .i @ Q @l u @ @) o "' '" @j @J s '" o @ "" r- @ :2 'm . ci .. '" ~ ® 9 s "- ~ ~ '" t- "" '" w :::l .. <.: " '" ... ::..J ID '" '" e- o '<Jl .PRACTICE TUNES e- @j ® u.r I- 0 5! @ ~ :... ~ .. @ @ Q G ® o @) &( u 9 z 0 f<{ a 0 " til is al .: " "'" 13 0> "' @ .

. {€> 0 r- e @) .PRACTICE TUNES o $\ @ o )~ o @ ® @ "' 0 e- 8 ® ® " . ® u J e t:...0 ~ " " 32 33 ..l . e " ...... @ ® o e- o - ® e ....". '" 0 e- z is @ e s c. o "' @ . @ Q - '" @ 0 0 ..I Q ~ i '" en c .!l. o· _8 . '2 u .! 0 ffi~ ~ -~ o IL 0 "" :l- 0 "' @) u ® . '8 M (§ju '" u @ :.. Q ~ ® {~) " @ ® .... ® " 0-- _2 -....

.PRACTICE TUNES ®! "" Q : Ell ~l @ e~ -6 . @)j e". ~ UJ :Ii: 0: @I « -s .~ a @ '" il @ 0 S @ .. " "'I .6 @ e- '" .. ) :" & 5 @) s @ c... Ji I'i. "" @j ej '-" ::E 0 I ~ @l --<>.0 13 ®l @ 0 ®I @._ A S Q €l e- " .~ Q @ ®j e! ". : .. Il: .. t- ~ el .>-- :I II: ii: <II " 8 @ eQ q @) @ " Lt'- .@ @l .1 @! .' @ @ '" 0 '" 0 el 81 '.. ®I @l @ 0 UJ :J al s ®! @ t- .J:. 8 ®I @ .::. C\ '~ r- ® 8 "G) @I q ~..j Q @ 0 E ®j @ . 13 el @! 6 '" M"' t- p <I)' e· @.€l (§) ..

geared toward the diatoniC harmonlea. .in'g blues" harp.6 . $c:.capable of' j'he "bend·i~g". tnts sectlcn is.eJe) ohordls. C chotc is F G 91 ~~. and chord i ng associated with Ihe blu as sound.RE OF DOMINANT + 1 MEASURE OF SUBDOMtNANT .$Ij.a the SUBDOMtNANT (. 2 MEASURES OF'TONIC + 1 MEA.. c B :B C c~ 0 E D~ DC E~ E Eh F B'l> B F# '37 3.>t. Is for p"lay. e)lcepfion. Generally.. However. MEASURES 9F TONIC lHE' 12 BAR BlUES BL.THE 12 BAR BLUES PROGRESSION 4 MEASURES OF TONIC + 2 MEASURE.no + p. G G# Eb E F D F# G~ A Ab A i3~ G A~ A F# 8).e} 15.ttt'! not~ 01 s:t:.a. Thus.can ~e plaY. many blues tunas . Jusirna(1 the music and ignor"ihe holes ir)dlc<lted.k' harmonica and the ones following :are.1'f) no~ 01 e.ES PROGRESSION I(the' T:ONtC chord' (1 st GUIDE and the DOMtNANT (5~h ri1?l.as ii is' .poMIINANT Part 2 + Ttle following sectlon. 'only a dlatontc harmontca is used.U.edon a: ~hrQmal.SQF:.Iil. pages 37 to 47.J<!. .

. e® @{a ®61 @@ @l@j @@) @~ @Ei ®e ®@ ®e ®e 39 . c: "'" u @@i @.THE BLUES PROGRESSION FOR "STRAIGHT HARP" (First Positioh) "' . !3 o .@ @@ @@ @@ @J§).I::.

40 41 .osition) ( €I@ "N S@ .THE B~LUESPROGRESSION (Second FOR "CROSSED HARP" P..

<' '0 '" o '" s CI CI s: .!.:u iJ j'·0 . Z c . .. co E ". .r:: E " e e0 r-r .<:: "' '" o " @ ~ .. E !I: <'> . " .-a OL :I:S 42 .) t-' to :.!l ..) IL til 0 II: :.. m u. '0 s: Ol "c. .. e @ @ @ @J ~. == c 'is. 0 Z I- ~ o 0 <Il ~ E 3:: e CI <. .) '" '" W· 0 w IL II: '" 15 ....J:: () 'E oj o ... ..:5.... .c .. ::. . 3: '0 .sr <II ~. z 0 IL « z..~ :...) 0 W '" a: ::> ~ :::... '0 l: o 0 @J ... :. .: N 3: l' '". .§ . @j G' l! ~ Z «: iZ I..Q ..~ '" J' ..S ::I .0 '0 . .. '0 . :8 0 u. w e ® . eS @J E c .~ " OJ co c Q. '0 ~ ~~ 'U.5 e-."' ~ ~ . ai !1) ~ co <II 'E '0 c: ~ :rg rCi.0. :is -" "' ~ 0 c w u.0.) a» ::::. e» .. . :. Cl -- :::> « '" « m N . til so. u . iI: ~ !! .J 1: '" 0.r:: '" .. .g 3: CI E z <{ I!! " :S s F ~i:c. i . '" ._ o .!I ..S '0 ::I -" III 0 0 w u. (ll ~ c :!!: U) ~ c ~ 0 _c.<: Ol '" '" S :§ :~ '" '" 'E 'Ol E oj . W <n <n ::..~ 0 Z 0 ~ 0 0.) '" .i Z e..:....I o ® ® ® '" ) )® --.: .J f!l II: ·-:.. " '" " c .0> _~ in Z :0 "' '" . e'l 0 ur II: :..: III :J ~ IL e 0 w II: :..: ::'01: <ii s: o ""3 Q. Z g ~ ..s: E <0 '0 ... :::.. <'oJ :::.. . co' g .. 0 0 I- " i € . II: :J. .0 ... .THE BLUES P'ROGRESSION '0 FOR "THIRD POSITION" ~ . E "E c..0 0 g CI E E ~ ii . '" . '" a <Il tu. . ci ...~~ ...

E G A G.B. F~. Sf C# E. B. D# F. 1 nJ J II II • Dominant" Draw from hole 4' · _.with a variation 44 . n n.)'Ilth a. E.r:rn I JJTI m 'f · _. C. C#' D. G.Draw from hole'4 BIQw into hole 6Draw1rom J Mrs 6.E. C#.vartatlon THIRD POSITION • Tome.F. A. wi'th adifle(e~I. it One More (slow tempo) II 1=#.<lQ\'mb"al .D. :with arl embellishment II II • Domlnsnt- Draw from holes 7 and 8 or Biow'into hole6 JJTI . B. from hQlss3a.B· 0: E.C.A.F# A. G#.F~ G# B~.ot~erRtiylhm J.A.Q. D.nd4 • $ubd'ominant· Blow into holes 4 arl. A "" .c. F. A.E. f • Subdominant· • Dominant· n IJ n ~n _.G.d5 J nJ J 1. G.• syncopated Siill ~".G..sy nc opated CROSSED HARP • Tonic· Draw from holes z and 3 or Draw..A. II DIATONIC NOTE REFERENCE CHART Harp Key Noles c o E C. Bh._D. r.SUMMARY OF BLUES PRQGRESSIONSSTRAIGHT IiARP • TOllie· Blo_wInto holes 4 and 5 SAM Pli NG OF BLUES RHYTHMS TM Standard Train Rhythm JJTI JJTI I JJTI JTIl · . Eb.

®@ .' 46 47 .'(V@® G -@@) .®-®@"0® G7-@@@ .®@@l'" E~-®® 00 F ....@@l B~-®®O'®® C -@®®.®@ 0®® .INSTANT CHORD GUIDE FOR DIATONIC HARP CHORD - Play noles' CHORD - Play holes C Harp C -ANY F G F Harp ssr OF BLOWHOLES F- ANY SET OF BLOW HOlES -®®...@@@·'CV® 0®® B'i-®0® ... 0®® .®®® ®®®"' E7- E Harp E -ANY' A ·SET OF BLOW HOLES B~-ANY SET OF BLOW HOLES -®®o. 0®® C7- -G)®0...0® ®®® •.@®® F7-®®®.®"{V® A Hiirp AANY SET OF BLOW HOLES AA7- ®0® ot@@@ o -@~ E .@@}. G Harp G -ANY SET OF BLOWHOLES c 10 Harp D -ANY SET OF BLOW HOLES -®® ..<1J@@ 0< !7l - @@ D'l-'@®®.®@ G)0@.®®@".-@® @@@... (!)® CD®® -0@@.@@ B- -0®®..

1.g 9 harm 011ca in any i Ilq. It IS particularly lrnportant Ihat you do not tamper wllh the lnstrument.1"his technique does.eak.vOid9rease andutrt.i:I with It.~8l. il Is olten cheaper !'O repair a broken Qn9 than to replace It. I wOlJld recorn m ell d ret urn'jng th e harp to I he dea Ier or rnanutaoturar. Howe"e r. Or some other9ubstance. notas thai won't play. Side of yQur harmcnlea against 1Me palm 01your hand. 2. 48 . The best Way to free ih~ reed Is to firmly 'tap rhe hole. Many players soak Ihelir harps In water to make playing eaeler. Thls technique does frlie-up 1M reeds <lnd Speed up _the br.'" will repair 'Ih~ lnstrurnsnt. Olt~'n Ihe. In fact.but leave'repail10 prolecsslonals. and will not gene-rally '!l p'a. The big 9est p rob: e m yoU'll ever encou nter with your harrnonrca i$' stuck reeds.HARP CARE . not work.sed and th" channal. food. you Should dotnls after Ilverylew millul. that Is. Thus.r ~ "'s-oaked" harp.lng. but not if you 'va tWl1pere..E smce -IOnrornat ic harmon Icas 'Ien d' lobe quite' expenalvs. ' In A NOTE ON CHROMATfC' }lARP 'CAR.trying tc sclve this problem.. In procsss. Plirti oularly a. etten people do ruin their harps . While this doss not' indi.es of normal play.~id. 'he probable cau se 01 the Sill ok reed ts saliva. The be s t way to prev_e'nl stuck reeds Is 10 keep you r harp c lean. man utaeterers warn a9 ainst s ubm erg I.fght between' the .at Illtie Dr no expanse.cate your' harp is ruined.

l.O'l :P .Inc Pleasuredome.Leechers.

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